Go-to-Market × Commercialization × New Revenue Lines

I build the next revenue line.

Over twenty years I have built five revenue lines from nothing. A global promotions business and in-region supply chain across three continents, sold as a standalone company. A digital out-of-home media network inside a theatrical marketing business. A digital-first OTT platform inside a studio services operation. An AI analytics engine repositioned toward a buyer who would actually fund it. Most recently, a new entertainment division at P3 Global Services.

The move is the same every time. Find the capability the organization already has and does not sell, or the vertical its product has never been taken into. Identify the buyer who will fund it. Then build the channel, the infrastructure, and the commercial model that reach them. I have run that sequence in theatrical exhibition, streaming, studio services, college athletics, and branded manufacturing. The industry changes. The sequence does not.

  • Growth ExecutiveP3 Global Services, contract. Awards, Publicity, Theatrical, and International
  • Strategic AdvisorEDGE3, strategy and business development. Acquired by Next League, 2025
  • Growth ExecutiveVision Media, private-equity-backed awards servicing and OTT platform
  • Co-FounderCinema Scene, theatrical marketing, DOOH media, and global promotions
  • MBA, Magna Cum LaudeKeller Graduate School of Management
See the proof ↓ Start a conversation
Michael A. Holmes
● Prairie Village, Kansas ● Open to full-time, fractional, and contract engagements ● Remote, or hybrid in Los Angeles and Southwest Florida

By the numbers

$35M
Digital out-of-home media network revenue in its first five years, built from inventory the company already controlled.
10x
EBITDA expansion at Vision Media, alongside 300% divisional revenue growth from a new OTT SaaS platform.
20
Countries per global studio promotion, with twelve or more executed annually across three continents.
500+
Awards campaigns delivered annually across the Academy Awards, Emmys, Golden Globes, and the guild ecosystems.

The method

The Next Line™

Revenue a company can already deliver, from a buyer it has never served.

Every company I have worked inside already had its next revenue line sitting in it. Usually nobody had named the buyer, built the channel, or priced it.

The next line is not necessarily a new product. More often it is a new buyer. Revenue arriving from a direction it did not arrive from before is the next line, whether it comes from something newly built or from something that has been sitting on the shelf aimed at the wrong market.

ROUTE ONE The unsold capability Owned today. Sold to nobody. ROUTE TWO The unserved vertical Sells today. New buyer. The same six steps, in order 01 Find the capability that is not sold 02 Find the buyer who will fund it 03 Build the channel that reaches them 04 Build the infrastructure that delivers 05 Structure the commercial model 06 Transfer the operating capability A revenue line the company runs Documented, owned internally, sold without me
The route changes. The sequence does not. Skipping a step, most often the fourth, is where expansion efforts fail.
Route one

The unsold capability

The company owns something it does not sell. Inventory, a workflow, a data set, a facility, a relationship. The work is to turn it into a product and find who will pay for it.

Cinema Scene DOOH network · Cinema Scene international · Vision Media OTT platform

Route two

The unserved vertical

The product already sells. It has simply never been taken to an adjacent category, channel, or buyer, usually because nobody has built the positioning, the entry path, or the proof that vertical requires.

CineSend awards, publicity, and DTC · P3 four new channels · EDGE3 repositioning

Whether the revenue comes from something unsold or from a vertical nobody has entered, the same six steps run in the same order. The route determines where you start, not how you build.

Read the full method →

Most growth problems arrive described as a sales problem. Sometimes that is right. What I look for first is the packaging problem underneath it. I know the pattern well enough to have lived inside it: at Cinema Scene the next line was an international promotions company, and when that one sold, the line after it was a media network in the lobbies we already occupied.

01

Find the capability that is not being sold

In practiceTheatrical lobby inventory. A studio delivery workflow. Player data aimed at the wrong user. A fulfillment operation serving one department of a client that has six.
02

Find the application a buyer will fund

In practiceAt EDGE3, an athlete management and scoring product became a decision engine for college football staffs and recruiting families. Same data. A buyer with a budget.
03

Build the channel that reaches them

In practiceSegment definition, service-line positioning, entry paths, and in international markets, the regional commercial partners who carry both the selling and the local studio relationship.
04

Build the infrastructure that delivers it

In practiceRevenue that cannot be fulfilled is not revenue. In-region manufacturing, vendor networks, delivery platforms, and compliance workflows are the part most growth plans leave out.
05

Structure the commercial model

In practiceMulti-year enterprise agreements, licensing terms, sponsorship and activation layers, pricing, and attribution that survives a procurement review.
06

Transfer the operating capability

In practiceThe revenue line has to keep running after I step back. That means documented process, named internal owners, and a team that can sell it without me.

Proof

Five companies. Three continents. The same move every time.

Route one · the unsold capability Route two · the unserved vertical Cinema Scene · Intl Cinema Scene · DOOH Vision Media EDGE3 CineSend P3 Global Services 2005 2010 2015 2020 2025
Six builds across five companies. Diamonds mark exits: the Cinema Scene international business was sold separately in 2011, Cinema Scene itself in 2016, and EDGE3 was acquired by Next League in 2025. EDGE3 ran concurrently with Vision Media and CineSend. The early work was route one, the recent work route two.

Cinema Scene

Co-Founder
Marketing & Growth Executive
2005 – 2016
Route oneTwo businesses, two exits
The capability
A theatrical marketing company holding studio relationships and physical presence in cinema lobbies, with no business built on either one.
Build one
2005 – 2011
A global promotions business across APAC, Europe, and Latin America, built on regional commercial partners who carried both the selling and the local studio relationship, and on in-region manufacturers who produced the physical product inside each market rather than shipping it from the United States. Twelve or more global studio promotions executed annually, roughly twenty countries each. 100% annual revenue growth across the European, Asian, and Latin American units in their first three years, with licensing agreements negotiated directly with regional studio offices including Disney, Sony Pictures, Universal Pictures International, and DreamWorks Animation.
Build two
2011 – 2016
A digital out-of-home media network in the lobbies themselves, started as the international business was divested. Programmatic advertising technology sourced, negotiated, and integrated into the content management software, opening a second revenue stream on inventory the company already controlled. $35M in revenue over five years. Brand advertising up 250% with AT&T, Chevrolet, Disney, Mars, and Verizon Wireless, and more than 400 million monetizable impressions annually.
The exits
The international business was sold as a standalone company in 2011, funding the pivot into the media network. Cinema Scene itself was then sold in 2016 to the financial backers of Vision Media. Two businesses built inside one company, and two exits.

The international build

Thirteen markets entered across three continents, each requiring its own commercial partner, its own studio relationship, and its own manufacturing base. Built from 2005, and sold as a standalone business in 2011.

12+
global studio promotions
annually, ~20 countries each
APAC
ThailandSingaporeAustraliaHong KongTaiwanChina
Europe
EnglandIrelandGermanyThe Nordics
Latin America
MexicoCentral AmericaArgentina

Regional commercial partners

The people who sold in-market and held the local studio relationship. Nothing scales across twenty countries without them.

In-region manufacturing

Product made inside each market, which removed freight cost and customs exposure from the model and made local campaign timelines achievable.

How it was built →

Vision Media

Growth Executive
2016 – 2024
PE-backed awards servicing and OTT
Route one
The capability
A services business that ran the awards and screening workflow for most of the major studios, operating as labor rather than as a platform.
The build
A digital-first OTT SaaS platform built on that workflow, with scalable delivery infrastructure, guild compliance built in, and automation replacing manual handling. Delivery modernized through partnerships with AWS and Kaltura.
The result
300% divisional revenue growth and 10x EBITDA expansion. Multi-year enterprise agreements negotiated to signature with Walt Disney, Paramount Pictures, Warner Bros., Sony Pictures, NBCUniversal, Netflix, Apple TV, and Amazon MGM Studios. More than 500 awards campaigns executed annually across the Academy Awards, Emmys, Golden Globes, and guild ecosystems.

EDGE3

Strategic Advisor
Strategy & Business Development
Jan 2022 – Jan 2025
Route twoConcurrent engagement
The capability
A sports technology company building an athlete management and scoring platform, holding genuinely valuable player data and pointed at a user who was never going to pay for it.
The build
The repositioning, from athlete management platform to an AI analytics engine that helps college football programs and recruiting families identify the right fit in a school decision. That meant defining the player data the engine required, building the initial scoring methodology position by position, and then building the commercial engine to pitch college football staffs directly.
The result
A product with a funded buyer, and a company that was acquired. The platform was built on IBM watsonx through a technology partnership I led, deployed with Division I recruiting staffs, and EDGE3 was acquired by Next League in 2025.

CineSend

Strategic Partnerships
2024 – 2026
Secure distribution technology
Route two
The capability
Enterprise-grade secure streaming and distribution infrastructure, sold into one category, with capability well beyond it.
The build
Go-to-market expansion into three new commercial applications: awards campaign delivery, publicity screening programs, and direct-to-consumer SVOD and PVOD releases. Enterprise requirements defined with product and engineering to close the capability gaps that had disqualified the platform from that business.
The result
Three categories opened that the product had not previously served. Platform partnerships established with the Directors Guild, Producers Guild, Writers Guild, and Critics Choice, aligning secure delivery, content licensing, and guild compliance inside seasonal campaign workflows. A second revenue path built by connecting distribution to sponsorship activation and promotional partnerships.

P3 Global Services

Growth Executive, contract
2026 – present
Brand execution, fulfillment, digital
Route two
The capability
Two merged businesses, one in fulfillment, events, and warehouse software, one in branded merchandise and manufacturing, serving major studios with no unified entertainment go-to-market between them.
The build
The entertainment go-to-market built from a standing start, defining target segments, service-line positioning, and entry paths. Now leading a new division that centralizes marketing across both sides of the business and opens four new channels under a gated plan: Creative Agencies, Studio Publicity, Safety Gear for production, and Theatrical Exhibitors.
The result
A cross-sell program that converts single-service relationships into integrated engagements, plus an awards and publicity outreach engine running against studio, guild, and agency contacts. In progress.

Where I fit

The thesis holds. The seat changes.

Full-time, fractional, or project. The work is the same in each case, and these are the six shapes it usually takes.

New Revenue Lines and Vertical Expansion

Building the commercial model for something the company can already deliver but has never sold, or taking a product that sells today into a vertical it has never reached.

$35M DOOH network · P3 entertainment GTM from zero · four new channels

Platform and SaaS Commercialization

Turning a services operation into a product, or a single-category product into a multi-category one, including the enterprise requirements that close the gap.

300% growth · 10x EBITDA · three new applications at CineSend

International Expansion and Supply Chain

Entering a market with no presence: regional commercial partners, local studio relations, and manufacturing inside the market rather than shipped into it.

13 markets · APAC, Europe, Latin America · ~20 countries per promotion

Studio, Guild, and Awards Partnerships

Structuring multi-year enterprise agreements and navigating the compliance, campaign, and promotional calendars that govern this industry.

500+ campaigns annually · Academy, SAG-AFTRA, DGA, PGA, Critics Choice

AI Product Positioning and Enablement

Repositioning an AI product toward the buyer who will fund it, and finding the workflow where applied AI pays for itself.

EDGE3 scoring methodology · IBM watsonx · live billing automation · answer engine visibility

PE-Backed Growth and Exit Readiness

Operating inside private-equity-held businesses, aligning commercial strategy to ownership objectives and capital-efficient expansion.

Two Cinema Scene exits · Vision Media under PE ownership

Applied AI

I learned this by building it.

A resume describes what somebody used to do, which matters less in a market where the tooling changed last year. I did not take a course and call it a capability. I built something first, in a domain I know well, then studied where the discipline applies commercially, and I am now putting both to work inside a live client engagement. Each item below is labeled for what it actually is.

Live client engagement

AI billing acceleration

A client invoicing process that ran more than twenty days by hand, rebuilt as an automated workflow: warehouse order exports matched against rate cards, exceptions flagged rather than guessed, and a documented business-rules layer that becomes the reusable asset.

  • Two delivery paths designed and compared, from a scheduled low-code task to a tested production build
  • Accuracy controls, reconciliation, and sign-off built into the process rather than bolted on
  • Productized into a four-stage offer: assessment, pilot, production build, managed support
Researched, now in client use

Answer engine visibility

Answer engine optimization measures what large language models say about a brand, a title, or an institution, and which sources they cite when they say it. I have studied the discipline and mapped where it applies commercially, and I am now putting it to practical use inside a live engagement.

  • Researched the measurement approach: fixed prompt batteries, factual accuracy rates, citation source classification, and peer control sets
  • Mapped the application to awards campaigns and theatrical title marketing, where visibility inside an AI answer is starting to matter the way search ranking once did
  • In practical use within a client engagement today, rather than offered as a standalone service
Self-directed build

Box office and awards modeling

I wanted to understand how large language models build automated tasks, and how those become agents. Reading about it was not going to do it, so I built something in a domain I know well: a predictive model for opening-weekend box office and Best Picture outcomes, using title metadata, trailer performance, search trend data, and release-window competition features.

  • No commercial application behind it. It exists because working a real build end to end is the only way to learn what the tooling can and cannot do
  • The same approach, pointed at a client problem, is what produced the billing work above
The whole story →
Certifications Profound 101, AI Marketing Intelligence Platform GenAI for Executives and Business Leaders, IBM AI Fluency: Framework and Foundations, Anthropic

What transfers

The method is the product. The network is the proof.

I have built inside theatrical exhibition, streaming and studio services, awards and guild organizations, college athletics, and branded manufacturing and fulfillment. Those are different industries with different buyers and different clock speeds, and the sequence was the same in each. A long relationship list does not prove that I know a particular set of people. It proves I know how to build access inside an industry that does not hand it out.

Building access where you have none

Studios, guilds, and awards bodies are among the most closed and calendar-bound buyers in business. Nothing about that approach is specific to entertainment. It is what you do anywhere the buyer is difficult to reach and the relationship precedes the transaction.

Finding revenue a business model is not capturing

Reading an asset base, a customer list, and a delivery operation for the line that is not being sold is a discipline rather than a body of industry knowledge. The questions do not change when the sector does.

Standing up what delivers it

Enterprise agreements, pricing and attribution, partner networks, supply chain, and compliance workflow are the same problems in every sector, carrying different names. I have built them in software, in media, and in physical product.

I have already crossed over twice

EDGE3 moved me into college athletics and applied AI. P3 moved me into manufacturing, fulfillment, and logistics. Neither is a media company, and in both cases the work started with a market I did not know and a sequence I did.

Where I have built, negotiated, or delivered
Studios and streamers
Walt DisneyParamount PicturesWarner Bros.Sony PicturesNBCUniversalNetflixApple TVAmazon MGMUniversal Pictures InternationalDreamWorks AnimationLionsgate
Awards, guilds, and trades
Academy AwardsEmmysGolden GlobesSAG-AFTRADirectors GuildProducers GuildWriters GuildCritics ChoiceVarietyThe Hollywood Reporter
Technology and brand partners
IBM watsonxAWSKalturaAT&TChevroletVerizon WirelessMars
Boards and affiliations

  • Meadowbrook Park Master Development Board

    Treasurer · 2025 – present

    Luxury mixed-use development spanning residential, hospitality, senior living, and an 80-acre county park.

  • Win for KC, Kansas City Sports Commission

    Advisory Board · 2013 – 2019

    Partnerships, advocacy, fundraising, and programs supporting equity and participation in women's sports across the Kansas City region.

Education

  • Master of Business Administration, Magna Cum Laude

    Keller Graduate School of Management

  • Bachelor of General Studies

    University of Kansas

Contact

If something here maps to a problem you have, let's talk.

The conversations I am most useful in:

  • Any company with a capability it is not selling, or a product that has never been taken into an adjacent vertical. The sequence does not depend on the industry.
  • Media, entertainment, and sports organizations that need a new revenue line built, not another headcount added to the existing one.
  • Technology platforms entering the studio, streaming, or exhibition market and needing the channel and the credibility to do it.
  • Companies taking a product into international markets for the first time, where the partner network and the supply chain are the hard part.
  • Private equity operators and founder-led businesses who need a commercial thesis executed rather than written.
  • Organizations trying to work out where applied AI actually pays for itself inside their operation.
Book a 30-minute intro call →

Pick a time that works. No back and forth.

maholmes913@gmail.com
816.820.5303
linkedin.com/in/michael-a-holmes
Resume, two pages
PDF ↓
Common questions

Who is Michael A. Holmes?

A go-to-market and commercialization executive with twenty years building new revenue lines inside media, entertainment, streaming, sports technology, and brand services businesses. He co-founded Cinema Scene, where he built a global promotions business across APAC, Europe, and Latin America that was sold as a standalone company, then built the lobby media network that followed it before the company itself was sold. He led the commercialization of a PE-backed OTT SaaS platform at Vision Media, advised EDGE3 through its repositioning and acquisition by Next League, expanded CineSend's distribution platform into three new categories, and now leads growth for P3 Global Services on contract.

What is The Next Line?

The Next Line is the method Michael A. Holmes runs on every engagement. It is defined as revenue a company can already deliver, from a buyer it has never served. The premise is that every company he has worked inside already had its next revenue line sitting in it, and that nobody had named the buyer, built the channel, or priced it. The next line is not necessarily a new product; more often it is a new buyer. It arrives by one of two routes: an unsold capability the company already owns, or an unserved vertical the existing product has never been taken into. Either route runs the same six steps: find the capability that is not being sold, find the application a buyer will fund, build the channel that reaches them, build the infrastructure that delivers it, structure the commercial model, and transfer the operating capability to the organization.

What does he actually do?

He identifies a capability a company already has but does not sell, defines the buyer and the application, and builds the channel, the infrastructure, and the commercial model that turn it into revenue. The work spans go-to-market strategy, enterprise partnership development, international expansion and supply chain, platform commercialization, and applied AI enablement.

What industries does he work in?

Film and television studios, streaming platforms, theatrical exhibition, awards and guild organizations, media technology, sports technology and college athletics, and branded manufacturing, fulfillment, and logistics.

Does his experience transfer outside media and entertainment?

It already has, twice. EDGE3 took him into college athletics and applied AI, and P3 Global Services took him into manufacturing, fulfillment, and logistics. Neither is a media company. What carries across industries is the method rather than the contact list: building access to a buyer who is difficult to reach, identifying revenue a business model is not capturing, and standing up the agreements, pricing, partner network, and supply chain that deliver it.

Where has he built internationally?

Across thirteen markets on three continents: Thailand, Singapore, Australia, Hong Kong, Taiwan, and China in APAC; England, Ireland, Germany, and the Nordics in Europe; Mexico, Central America, and Argentina in Latin America.

What is he available for?

Full-time executive roles, fractional engagements, and contract projects. He is based in Prairie Village, Kansas, works remotely, and is available hybrid in Los Angeles and Southwest Florida.